Episode 46 - Video Settings that PHotographers Get Wrong

0:00

let you in on a little secret oh what's that secret uh it's

0:07

2024 currently MH Revelation and I'm going to go ahead and tell you that for

0:14

most platforms 1080 is still sufficient I'm G

0:19

to die on that Hill I can agree with that I can agree with that would I want to shoot something that's going to be on a big screen in 1080

0:27

no but what are most people you know know watching things on I think I think the others for me are just attractive

0:34

for flexibility with with regards to punching like that yeah bigger proponent

0:42

of trying to get it right in camera yeah yeah I definitely want to get it right in camera but sometimes you

0:48

if if you nail your composition in 1080 there's no need to

0:53

punch but maybe one day I'll be good enough to not have to punch ever it's just listen I'm just trying to keep

0:59

somebody from from from succumbing to gas you know we've got cameras coming out that I think shoot like 32k and yeah

1:07

black magic legitimately just released an 18K sensor I believe 18K and then the Ursa 12K has been out

1:15

for a while now so yeah we're getting there getting Canon's thrown 8K yeah

1:21

people are just they're just slinging KS around now all that to say situation all that to say

1:31

I think 1080 is still sufficient uh let you in on another little secret we're shooting this in

1:37

1080 yes and then up scaling it to 4K yeah it comes out in 4k but to save on

1:45

data sh she's getting up all those things it's 1080 she's getting up good morning good morning good afternoon

1:51

wherever you find yourself in in life Your Walk of Life we appreciate you

1:57

listening or watching whatever you're doing whatever you're doing wherever you're doing it whether you're a faither

2:04

or a framer uh hopefully a faither if not I'd like to talk to you absolutely

2:09

we got some good news hey so one thing that we do we do a um we started in

2:15

photo uh we then transitioned into a hybrid and still to this day are a hybrid uh media entity we still do photo

2:24

actually it's probably 50/50 we do a lot of photo we do a lot of video so most jobs that we include both yeah yeah we

2:31

like to include that as a deliverable um I sell that to say one thing we want to

2:36

discuss today is mistakes that I not on only see photographers make when they

2:41

make to the jump to video um also we made a lot of mistakes when we

2:48

transition in video but we also have people come to us who are photographers and they're like hey I want to start

2:53

using a little bit of video something more than my cell phone um need to know what differences

3:00

or what mistakes to possibly what are my settings avoid yes so that's what we're going to talk about camera settings that

3:08

we notice and often times photographers get wrong regarding video I'm going to coin

3:14

this term we're going to give you some settings that will set you up for success with video interesting how' you

3:20

like that I do like that before we talk about those let's talk about today's sponsor today's sponsor is none other

3:27

than us motion Creative Media Jared and Garrett and our Blue Collar L

3:33

folks our Blue Collar L which is free to you is a dragon drop plug-and playay

3:39

filter basically for your footage whether that be cell phone footage camera footage we've designed this to be

3:44

pretty flexible with everything you can download that down in the description below Jared thanks for sponsoring this

3:50

episode hey thank you he's over there cell phoning meet and ters get us to the

3:55

meet and ters Jared we're talking camera settings that will set you up for success with video yeah so uh I'll say

4:02

this you still have the same exact variables within the exposure triangle yes as tools uh within your toolkit ISO

4:11

shutter speed aperture aperture there it is f stops whatever you want to call it those

4:16

are still the three things that you're going to use in video so that doesn't change

4:22

however there are some rules and I'm not necessarily a huge proponent of like

4:28

rules right you know that they're they're okay you're a rule follower I am meant to a degree but I also understand

4:34

that um you know there are photography rules um that are meant to be broken

4:40

yeah who who says you can't break that compositional rule some are blatantly to be ignored so all that to say there are

4:48

some guidelines that are very heavily uh encouraged for you to follow uh with

4:54

regarding the exposure triangle hit me with one so the first one I think is the main one people mess up uh when they

5:01

move to video shutter speed shutter speed because with photo

5:08

even if you're in full manual a lot of people are going to go ahead and set their ISO Yep they're probably going to go ahead and set their aperture so as

5:14

the scene changes as they're moving around this mountain side or whatever taking portraits the variable that

5:20

they're going to be rocking the shutter they're going to be changing the shutter they're an AB priority the camera is rocking the shutter that's the variable

5:25

that's changing however that is a variable that you generally do not want to

5:35

change with video no it has to stay constant and I'll give you a little backstory on why this is if we talk

5:41

about industry standards when it comes to cinema movies films uh TV y uh there

5:48

are set shutter speeds for your frame rates that you're shooting in those are

5:54

different those can often get confused they can be um but there is a rule out

5:59

there called the 180° shutter rule when it comes to video uh which states in

6:04

layman's terms in layman's terms that your shutter speed needs to be double

6:09

whatever the frame rate is that you're shooting for example if I'm shooting 24 frames my shutter speed needs to stay at

6:15

one over 48 or one over 50 whatever is the closest that you can get to double yep if I'm in 30 shutter speed needs to

6:21

be 60 if I'm shooting in 60 frames shutter speed needs to be 120 so on and so forth you just double your frame

6:27

rates with your shutter speed and the reason for that is because motion blur

6:33

yes there is a pleasing MH and it's mostly just because we've been conditioned right we've been conditioned

6:39

by by movie TV all those things and film cameras which I'm not going to go down that rabbit hole but you want some

6:46

natural looking motion blur and I think what we should do here is is attempt to to throw some b-roll here so that we can

6:53

explain the fact yes so the reason why you want and we're shooting these in 24

6:59

frames second 23.98 with a 180° shutter because our cameras shoot shutter angle

7:04

but if they didn't we would shoot shutter speed and we would make it to the closest which in most case is going to be that one over 50 y the reason for

7:11

that is because when your hand moves or when movement occurs in the object or in the frame if you're John Cena which you

7:19

can't see him so that's probably a terrible explanation I do know I do know that about wrestling uh but you you're

7:27

going to want this natural motion for instance if you did

7:32

not uh pay attention to your shutter speed and you just look at the exposure

7:38

and you're like oh I need to be I need to have a higher shutter speed so that I can achieve a proper exposure well with

7:46

Nvidia what that's going to do is it's going to look really choppy yes and we'll we'll show that here uh in this in

7:51

this clip it's going to look somewhat hyper realistic yes like you're playing a video game or something like you're playing a video game and so shutter

7:58

speed is the biggest thing that I see most people get wrong whatever frame rate which is your frames per

8:04

second we'll talk about that in a minute whatever frame rate you shooting make

8:09

sure that your shutter speed is dou double that now double bubble here's here's what brings you into the next

8:16

situation and indoor settings you're not going to need in most cases neutral density right you're not going to need

8:22

sunglasses for your camera for your camera you're going to be okay to rock one over 50

8:29

on your exposure now and you can adjust with aperture if need be and you can adjust with aperture if need be because you do still have that variable at your

8:37

disposal M now Outdoors this where it gets tricky different situation you're

8:42

going to go out there and you're going to say well I would love to shoot my lands at 28 I would love this shallow depth of

8:49

field I paid for a 28 By Golly I'm going to use every single one I'm going to shoot at 28 so you go out there and you

8:55

set up a shot and you realize oh my image is pure white it is way

9:01

Overexposed and I'm already at a really low ISO so like I I I need to change my shutter speed well in photo mode that's

9:07

exactly what you would do right but what you need to do is keep one over 50 MH or double whatever you're shooting and you

9:13

need a variable ND neutral density sunglasses for your lens they go on the

9:19

front of your lens in most cases uh and they are they're going to change

9:25

intensity as you twist now we can flash a clip of that as well yeah yeah so that

9:30

is how you still keep your 180° shutter which is double double your frame rate

9:36

maintain a proper exposure within video outside keep the aperture that you want yeah alternatively to that if you don't

9:43

own ND filters and you do want to adjuster apture just understand that you're not going to be able to shoot it wide open at f2.8 you might have to

9:50

crank it on down to f11 or F16 or F22 whatever your lens goes to which I'll be

9:56

honest with you I would rather see a properly exposed image with pixel you know end to end sharpness yeah

10:02

at F16 yeah as opposed to a blown image yes right or an image

10:08

where we've had to crank the shutter because we didn't have an ND and we absolutely refused to close our lens

10:13

down yeah so keep your shutter speed at Double your frame rate ways to do that

10:21

outside you're going to need an indd filter Indie filter possibly aperture possibly an aperture those are your two

10:26

options and if you want some indie recommendations let us know down in the comments below uh we can certainly recommend a few to you yeah there's some

10:33

expensive ones uh and there's some pretty affordable ones that we have had very good and they all do the trick yeah

10:38

they all do the trick they all do the trick so you mentioned uh a a pretty good point and we this will move us into

10:44

setting number two U we talked about shutter speed but a closely related relative to shutter speed would be uh

10:50

our frame rates yeah um because shutter speed frame rused it's it's confusing often confused I would say they're

10:56

cousins they're not brother and sister they're cousins because they they both have to work in conjunction with each

11:01

other yes to make this happy family of exposure work

11:07

so most situations you're going to want to shoot in 24 frames per second if it

11:12

is a talking again industry standard that just means every second that's

11:17

recorded there is 24 frames written and captured you mean like Motion Pictures

11:24

yeah who would have guessed it so a lot of people get this wrong and did when I

11:29

started out too because what I would do is like I would I would even on my iPhone MH I would see oh this shoots 60 FPS or

11:39

this shoots 120 FPS well it automatically goes to 60 frames when you open up your video this is going to be

11:46

the best better it's better it's it's it's it's a better video setting that's

11:52

not really true so for instance the the rule that you can break

11:58

if you desire um but I would suggest following is if it's not going to be

12:04

slowed down M meaning if you're not going to make this clip slow motion right in post- production when you're

12:10

editing it or putting it together in a real whatever probably need to shoot it in

12:17

what we call real time yeah 24 frames a second 23.98 or 24 frames per second or if you're a broadcast crew 30 frames cuz

12:24

that's 30 I don't like 30 30 kind 30 is kind of icky to me I use 30 if want to

12:30

emulate 24 but slow down just a little bit yes that's the only time I use 30 so

12:35

most of the time when you're editing uh if you're editing in an nle you're going to have a timeline setting

12:42

and this may be further than we meant to get into IE Premier Pro Dent resolve Final Cut whatever your editing is your

12:48

timeline setting is is normally going to be 24 frames per second um so that means if you have a 60

12:56

frame per second clip that you're putting in there you can slow that clip down all the way to 40% and if you don't

13:04

it's going to look kind of choppy and it would still be smooth right now the frame rate again plays along with uh

13:12

your shutter speed you're still going to want motion blur yeah even in your slowmo clip so

13:18

again that goes back to the 180 but as a general rule of thumb if you were just talking to the camera or if you're just

13:25

filming an interview or you're not going to slow the clip down make we're doing right now dreamy 24 frames per second

13:31

that's what you're going to want to do industry standard yes from c um you have 24 frames 30 frames 60 and 120 and maybe

13:39

we could even show here like what this same clip looks like in 60 you're going

13:45

to notice it's like again it looks hyper realistic a videoes the movement is is

13:51

there's physically more frames so you have 60 frames in 1 second versus 24 so

13:56

you have less motion blur it looks more hyper realistic again the example that I always go to is a lot of video game

14:01

streamers you know they'll stream in 60 frames or even 120 right uh FPS um you

14:07

want that hyper real they want that hyper realis that's what the video game look is um in cinema though and and in

14:12

video typically we want everything to point back to 24 frames well I mean I

14:17

think 24 24 frames Not only was it you know just kind of how everything started with Cinema but it's also I think very

14:25

closely realistic to how your eye yeah I believe so sees like if if you you're

14:30

not seeing every frame of me you know moving my hand through this uh

14:36

discussion that we're having there's motion blur and so it just feels more natural for a plethora reasons so yeah

14:43

agre frame rates if you're not going to slow it down shoot it at 24 cousin to shutter speed don't get them confused or

14:50

perhaps if you are uh overseas 25 frames 25 frames a second

14:55

pal something like that yeah the pal system so the other variable that you have and

15:01

we're not going to spend a whole lot of time because you can really get nerdy with this yes if we're not already nerdy on this episode the other variable uh

15:08

allowed to you is ISO right the other part of the exposure triangle the sensitivity of your sensor as a

15:15

rule no different than photo you're going to want to shoot the lowest ISO

15:20

that you can to achieve the exposure that you want yes or that you need now

15:27

there are differences here that we could really get into the weeds with but if you're

15:32

shooting uh log mhm your iso's values are going to be

15:39

different than if you're shoo standard picture Prof picture profile and so what we mean by that is like with Canon if

15:45

you're literally just shooting their standard profile or their portrait profile or their landscape profile

15:51

whatever those ISO values are going to be different than if you're shooting log

15:56

now we didn't start shooting log right actually I take that back we did start shooting log because we were told we

16:02

need to yeah we shot log improperly we way underexposed it and maybe we can

16:07

drop the L here or we can drop our color grade and show you what log actually looks like pretty ugly log is not raw

16:13

it's a hybrid but it is flat yeah it's a hybrid between standard profile and raw and so where we messed up when we first

16:20

went to log was we were making contrast in camera on the back of our LCD because

16:26

it is a flatter image the only way we could introduce the contrast that thought we needed was to in turn

16:32

underexpose the image which is typically what you do in a standard picture profile you either Expos it a little under or right at even exposure with log

16:40

typically modern day cameras like to be exposed a little hot whenever they're in log ET exposed to the right yes so I say

16:48

all that to say you need to research your camera because manufacturers differ and

16:54

see what they call their base or their native ISO values it is going to be the

17:01

cleanest image and what I mean by Clean is you're not going to introduce noise digital noise digital noise which in

17:07

video is a lot harder to remove than it is in photo especially if you're shooting raw photo yeah well because

17:14

with photos I mean and I know you're a big proponent of this you you like to keep your shutter no less than like one

17:20

1250th yeah basically at all times yeah which means if we're in a dimmer situation there's times where you might

17:25

be at 3200 ISO you might be at 4,000 cuz in photo a it's going to be a little bit cleaner in general CU you're shooting raw um but

17:32

you can clean it up with noise reduction in light Photoshop whatever you're using video is a little different um video to

17:39

to reduce noise in video a you have to have a pretty powerful machine because it's very labor intensive on your

17:45

computer um so playback may not be as smooth in your in your editor but it's it's it get mud yeah it gets very muddy

17:52

and digal noise yeah digital noise is not as pleasing as like what we're used to with like film grain you know a lot

17:58

of people like film grain yeah grain and noise are two different things which on

18:03

the photo side I I find that a little bit of noise kind of more so emulates green in

18:10

photos yes in photos in video it's not it's these annoying specs in the shadows

18:15

you see and you're like what is that it's just purple and green blocks basically yes very ugly so I say all

18:20

that to say research your camera for instance we shoot most of these podcasts on our Lumix s52 we shoot in Vlog which

18:27

is their log profile log profile there are there are two base isos in which case you are going to have a very

18:33

very very clean image of 640 and 4,000 and the next one is 4,000 so does that mean that we couldn't shoot log in those

18:39

in between values you can you can you're just going to get more noise you're going to yeah it's not going to be as clean yeah as you raise your exposure

18:46

until you get to the second base and so why would you ever shoot at 4,000 if you

18:51

just told me I need to shoot the low as possible well in a low light scenario mhm you've got your lens wide open 2 14

18:59

whatever it is and you still need to get light you don't have your ND on there and you don't have exterior lights that

19:05

you can bring in yeah so what you've got to do is you're just using available light you're going to use that available light so like for instance in in the gym

19:13

that we shoot at a lot of times star Fitness it's a darker facility because the lights are so far away from the

19:18

subject there's a really high ceiling and sometimes for effect we shut some of off we shut some of them off so we are

19:25

constantly bumping up to 4,000 ISO um but again every manufacturer is

19:32

different I know with a lot of the Sony's I think it I think the base is 800 and then it bumps up to liter

19:38

12,800 cannons are different like so just research your manufactur your manufacturer and if you're not going to

19:43

shoot log research it even further in the sense of standard profile in standard profile what is the cleanest

19:49

ISO setting and I would say if if you can't find that information maybe you're shooting on an older DSLR um a a safe

19:55

bet a safe bet if you're not in log um anywhere between between 100 and 400 ISO

20:00

yeah if you can get by with that for sure you're going to have a clean image and if you can shoot log anywhere between 400 and 800 yeah um probably

20:06

safe isos for most manufacturers um if you have an older camera and I guess another thing to say on that is is your

20:12

standard picture profiles are going to be already a rec709 color space which they're already going to have colors

20:17

contrast everything um much closer to a finished product log I don't want to

20:23

really confuse the two but it's it's almost lik into JPEG and RAW it's almost lik to J raw but log is not raw right

20:30

there is raw video right Cinema cameras often shoot it m that's a completely different beast but basically if you

20:37

were shooting log you're going to have more flexibility in post but you also have to convert that into a Rec 709

20:43

color space um which again is industry standard industry standard for video so

20:50

that was more than I wanted to say on is hope that wasn't like too weedy if it was please reach out and we can clear

20:56

five yeah it but it these are things that are important to know um because if not again the same mistakes that we made

21:03

for a very long time um you may make as well and I would like to mitigate that for you if possible yeah I would love

21:08

for to help you avoid a mistake or multiple mistakes uh so if you don't

21:16

have any more aperture you can't raise your ISO without introducing a bunch of noise one

21:22

of you got one of two choices you can either embrace the noise yeah or you find a different spot to shoot or light

21:29

or bring in lights if you don't own lights find a window a window don't shoot into the window right but use it

21:35

as a nice soft uh as a light source key light so the other thing and I think

21:42

this is a good transition um is something

21:51

that we messed up for a while M and I can think of a few weddings where we messed this up and and it it it now

21:58

haunts me white balance oh I can think of a dadburn automotive shoot that we did it was blatantly obvious that I was

22:06

in Auto white balance Auto wi balance if you're shooting photos and you're shooting raw not the end of the world

22:13

right not the end of the world I would still suggest setting a custom white

22:18

balance learn your consistency uh you're you're going to you're going to get better results that way for consistency

22:23

purposes hate yourself less than post production all those things but with video

22:30

you do not want to shoot Auto white balance why is that

22:36

Jared why do we not want it why don't we want our camera just doing it for us on the Fly you could probably get by with

22:43

it on a talking head situation if the frame doesn't change much but if the lighting if the lighting changes like

22:49

the sun comes in and out or something behind the cloud your white balance is going to shift and you're going to see that in the finished product you're

22:55

going to see that you do not want your white balance Shi shifting either the Kelvin or the tent right cuz that's the

23:01

two variables you have mid roll middle of the shot um that's Amateur hour

23:07

through and through and again I can say that because I've done it many times done we've done it the camera what we didn't understand what Kelvin were we

23:14

didn't understand that the the why that was even a setting like why do I need to set and then when I get it in the editor

23:20

I'm like why the heck is my footage changing colors why did this become pink all of a sudden in the middle of the

23:25

shoot yeah so set a custom white balance we have an

23:31

app that we have used well not since day one because day one we made mistakes day one we didn't

23:36

have it and I wish I did day two since day two basically whatever that means to you uh we have youed religiously LSP Evo

23:45

and you'll eventually get to the point of you can eyeball things you'll be able to eyeball things um but until then use

23:51

this app LSP Evo I don't even remember if it's paid or if it was free I think it's $2.99 worth every penny yeah worth all

23:58

299 pennies worth every penny I'm going to we'll we'll show you here a clip of how this app operates it basically tells

24:05

you exactly where to set your white balance yeah but I'm going to show you here like as you pan yeah it will it

24:11

will change it notice that it's changing so what that tells you is if you were to pan with your camera guess what it's

24:16

going to do if it's an auto white balance it's going to shift it's going to shift and sometimes it's smooth

24:22

enough to where you don't notice it yes just avoid it well set yourself a custom

24:27

you will love yourself a lot more in po set yourself a custom and most modern cameras nowadays you can set a custom

24:33

white balance in camera like it'll you can pull up custom white balance it'll have you take a picture of an area and

24:39

that area should probably be either white or gray or some neutral color but it will set you a custom balance and it

24:44

will stay there yeah um if you don't want to use your phone or whatever um most modern cameras that they have

24:49

custom white balance that you can set so and here here's something that a lot of people may not understand or they may

24:55

get wrong with regards to white balance even if you set a custom white balance you may already have in mind like for

25:01

instance we shoot most of our star content a little on the cooler side for their look we record it clean though we

25:10

do that color shift in post production yeah it's it would be the same as you

25:17

saying oh I'm pretty sure I'm already going to color this cooler right or I'm going to I'm going to have this finished

25:22

product looked cooler or look warmer I would caution you don't bake that in to

25:27

your footage sh as clean as you can yeah shoot it neutral with to your balance mostly two for skin tones um there's

25:34

where you're going to notice your shift now a lot of your skin tones they'll they'll shift if you don't have the right white balance in camera a lot of

25:40

times in post- production when we are in the color grading process we will fall

25:47

one way or the other to invoke a feel right but again you're going to want to start with a base a clean white neutral

25:55

base yes and then you can shift it and post so LSP Evo is going to be your best

26:00

friend and all that means is it's going to tell you the Kelvin the true white balance of that

26:05

scene and you may say but this shifts in this scene well a lot of times we will

26:12

split the difference yeah find a happy medium find a happy median if if if over you're that range you're good you're going to be good yeah so set yourself a

26:20

custom Kelvin white balance and you will hate yourself a lot less do not use

26:26

audio wi balance balance it's you're welcome it's not going to work out well for you that may be the secret best tip

26:33

of the day honestly you can screw up everything else and that's fine and dandy your footage it it will be okay to

26:40

a degree but Auto white balance whenever I see that I I go back and I have

26:45

terrible dreams about that yeah uh from the past well so like even even if you're just using your iPhone yeah set a

26:52

white balance on your iPhone well you can the you can lock it right by not just not just tapping for Focus

26:59

hold it for a couple seconds and you'll notice a e w or something lock pops up or something or awl something like that

27:06

so it it locks that white balance also locks your exposure also locks your exposure so yeah um set it set it forget

27:13

it please avoid Auto white balance by all means that's like that and shutter

27:18

speed are one of the two like to someone who knows something about video those

27:24

are like the two standout like hour moves like and again we can say that because we've done it we did many times

27:31

did and I'm like so I'm like taking a Brad Paisley page right if I could write a letter to me yeah custom W balance say

27:38

Le learn what w balance is yes learn the 180 degree shutter rule yes um don't

27:44

shoot talking bits in 60 frames per second correct I've made these mistakes very

27:51

recently too accidentally but very recently yeah it's what so I I guess

27:58

Devil's Advocate on the on the Slowdown situation and the frame rate situation you can't slow down 24 frames

28:05

per second course no no you can't so don't attempt it don't don't

28:12

attempt it it will it'll be it'll be juty unless that's a Vibe you're going for the

28:17

frames don't exist unless that's a mood you're trying to sell um I think maybe as a

28:22

bonus most people as they start out are going to be shooting in they're either going to make the

28:28

mistake that we did and underexpose their log image or they're going to be shooting in a standard picture profile yes let's

28:34

just assume um because that is the easiest it's it's way less intensive on

28:40

post production yeah less work less work less editing let's assume that people are shooting standard picture profile I think that's fair and I think you should

28:46

for a while until you understand log yeah dabble in it dabble in it yes but

28:52

until you like truly understand it um be careful taking dollars for it you can uh

28:57

save yourself a lot of Heartache yeah if you just shootting standard yeah so the the biggest the biggest thing with

29:03

regards to standard picture profile kind of Likens to a

29:08

JPEG there's physically less data less information there's less information

29:15

there's less information from exposure values there's Le less information from a color value standpoint so you need to

29:22

be very very very mindful of your exposures yeah of your settings if you

29:28

overexpose it it's gone you're not going to get that back right you have more

29:34

flexibility with lock but if in standard picture profile you really really really need to be mindful of your exposure

29:39

values and that goes on the bottom end too like on your Shadow side there's no detail there if if you didn't capture it

29:46

yeah if you go pure black so the biggest thing I would say is if you're shooting

29:53

someone some of the older cameras don't have the best dynamic range in standard picture profiles but which means they

29:58

don't capture all of your highlight and Shadow and midtone detail right as good as others here's what you need to do

30:05

though if you're filming a subject let's just say we're doing an interview you

30:11

got to nail their skin tone yeah and let the other values fall where they make yeah they're just going to have to go they're going to have and if that means

30:18

clipped highlights blown highlights in lie of properly exposed

30:23

subject that's that's better M than that's better than having your subject

30:29

underexposed um I actually saw a a somebody had posted in a forum earlier

30:34

today and it they had actually underexposed the image and they're like this image is so underexposed right now

30:39

that when I bring it back up or they're like this image is so uh noisy whenever I try to raise exposure and like I saw

30:45

that it was like four stops under that yeah like dude you exposed it basically almost pure black on the skin tones yeah

30:50

on the skin yeah um and so like that's the opposite in the spectrum of the example that you just gave but it it's

30:56

the same concept uh if we lose the whites or if we lose the blacks they're gone yeah and you're not getting it back

31:01

and if you do try to get it back you're in trouble as far as noise goes yeah um but yeah I I would I would agree with

31:07

that typically we want to expose for the subject because that is the important part of your frame if you're doing an

31:12

interview let the rest fall where it may if you're in a standard picture profile I want my subject to be properly exposed

31:18

but one thing you can do too it may be a very simple compositional change let's say you're shooting an interview of someone in their home and you just need

31:24

a quick little thing so you've shot it in standard picture profile you don't want to spend a whole lot time time editing great there's no problem with

31:29

that right but change your change your composition for instance like don't shoot the massive bay window in your

31:36

frame with them back lit with them back lit because here's the thing like most cameras that are ACH are affordable or

31:43

attainable or older or older they're not going to have the dynamic range they can't keep that window if you're not

31:48

bringing in more light they're not so just maybe don't have that in your frame or have a piece of it to motivate your

31:56

your light whatever so there are ways for you to even mask uh that your camera is older or

32:04

doesn't have the dynamic range of say a Hollywood Cinema Camera right which news flash it doesn't correct

32:12

um correct in most cases most cases even with the cameras that we use we often

32:17

have to pick or or bring in more light try to bring in more light so which gets expensive wi gets expensive so yes be

32:24

mindful of your exposure get it as right as possible in camera and again this is going to be

32:31

something specific to whether you're shooting standard profile or log footage yes um I I think for anyone it's it's a

32:38

good idea to go do some research on how should I expose you know my my standard

32:44

picture profile let's say I'm shooting Sony yeah how should I expose Sony standard picture profile right how

32:49

should I expose you know um whatever their other profiles are oh yeah I'm not that familiar with the Sony line yeah I

32:55

know with Lumix we have standard we have classic Neo we have

33:00

uh landscape portrait natural yeah yeah natural is a good one things like that so anyways uh learn your camera brands

33:07

uh specific profiles and how to expose those properly if you're not shooting log yeah uh

33:13

hopefully this clears up a little bit I actually have a fear that we have possibly made more confusion maybe and

33:21

if that is the case reach out leave us a comment and say Hey you mentioned

33:26

this I'm struggling with this concept yeah would love to di a little further

33:31

we've tried to keep most of the stuff surface level without getting into the weeds but like video is different than

33:37

different um you're using the same cameras and at the end of the day you are still capturing images you're capturing images you just have a lot

33:43

less flexibility with what you can change because there are some set standards that we that we practice in

33:49

video yeah um with your shutter speed frame rates things like that um but if you do have questions or if you do hate

33:55

us and we've given you terrible information leave those in the comments below we'll try to clear up anything that we can so one thing that we

34:03

maybe uh got a little too In The Weeds on but I know there's a lot more that we could discuss was in the editing Suite

34:10

yes we used a Vinci yeah if you would like an explanation of this timeline

34:16

frame rate because it it can get kind of confusing right I've shot a frame rate but my timeline's a different frame rate

34:22

my Project's a different frame everything looks choppy we can we would love yeah we can uh make a video on that

34:28

if that's something you would like to see uh a little more of I know us know in the comments below yeah absolutely

34:35

so if you have any questions please reach out yeah we had a

34:41

question on one of our later or earlier podcast episodes uh somebody was asking

34:48

and I did not anticipate this because it's pretty simple setup to

34:53

us but they wanted to know how we set up our light yep how we code gred our podcast so we're going to make a video

35:00

about that future video coming future video coming uh jar there's also some other things that our audience can leave

35:05

for us what would those be uh reviews stars and bars stars and bars us us

35:11

review us good or bad we read them all in the event that you happen to know a photographer who is uh maybe thinking

35:17

about dabbling in video perap perhaps this could be or send this podcast some sort of help some sort of help to them

35:26

absolutely other than that I mean yeah video settings that camera or video

35:31

settings that camera settings that videographers that photographers goodness gra camera settings that

35:38

photographers get wrong with video yes on that note Jared here's the hard part and we will catch you guys on the next

35:44

one he didn't make that very hard y'all have a good one